Brotherly Lies film review by UK film critic William Hemingway. Starring Pano Tsaklas, Jose Fernando, Robert Sean Campbell, Jacob Betts, Casey Semple directed by Mark Schwab. HOME | FILMS | REVIEWS Brotherly Lies Film Review average rating is 2 out of 5 Critic: William Hemingway | Posted on: Jun 20, 2022 Directed by: Mark Schwab Written by: Mark Schwab Starring: Pano Tsaklas, Jose Fernando, Robert Sean Campbell, Jacob Betts, Casey Semple Somewhere in Northern California two brothers try to come to terms with their past while dealing with the trials and tribulations of their life and relationships in the present. Lex (Tsaklas) is a twenty-something year old guy who's been having a bit of a tough time of things. Still reeling and depressed from a recent suicide attempt, borne from deep seated emotions still unresolved from his past, he has been spending his time recuperating in the family's empty holiday home. There are still plenty of people on hand, however, to keep Lex company and help him to feel better as the summer house attached to the property is being let out to Shane (Betts), a screenplay writer who's taken a retreat there to get some work done. Next door neighbour, Harry (also writer/director Mark Schwab) keeps turning up unannounced too, ready to make eyes at Lex and offer explicit Sugar Daddy advances. Lex's friend, Kenny (Fernando) has also come to stay for a while, ostensibly to help his friend out of a bad situation, but really just to get away from his overbearing husband. And then there's David (Campbell), Lex's brother who's come late to the party with his wife Laura (Semple) and who's been sticking his oar in about everybody's business, shaking things up a little. So, with our cast of characters all assembled, the story can begin – except that it's not that easy to get into the story at all. All of the characters are pretty much introduced at once and with everybody playing at making advances at everyone else it's very difficult for the viewer to get an initial idea of just who's who and what everyone's relationship to each other is. The story, such as it is, hangs on the fact that Lex has been getting romantically involved with Shane, but now with everybody else in the mix, those feelings may not be what they once were. Lex fancies Shane; Shane fancies Kenny; Kenny keeps getting confused; David fancies himself; and Harry from next door keeps mooning over Lex in a rather creepy fashion. It's all one big entanglement and nobody is getting what they want from the situation – especially the audience. Clocking it at over an hour and a half, Brotherly Lies meanders through its storyline with the exclusive use of low volume conversations. Everybody's past, present and future, feelings and emotions, troubles and conflicts are all dealt with in the same slow manner. The fact that the entire film takes place within the confines of the house, opulent and luxurious as it is, also means that the backgrounds don't change and the setting remains static. Nothing happens in the film either. At one point, about three-quarters of the way through, two characters kiss and this is the extent of the tension and drama that Brotherly Lies provides. Despite all of the conflicting emotions and mixed signals that are supposedly flying around, nobody breaks from their indoor voice to shout, scream, yell, fight, defend or otherwise show any actual emotional involvement in what the plot says they are dealing with. Even the kiss is resolved by a soft closing of the door and the resultant low key conversation afterwards. There is just nothing dramatic happening on screen at all. Throw into the mix some patchy audio, lacklustre performances, and a clutch of characters who are merely mirrored versions of one another, and Brotherly Lies comes out leaving the viewer bored and unconcerned at the supposed big themes it's trying to deal with. Nothing gets a proper airing, despite ninety-five minutes of continual dialogue, and Literally Nothing Happens. Whatever it was that Schwab was trying to achieve with this film it sadly feels like he missed the mark by a huge margin. There are signs that he's a talented film-maker in his direction, but in this instance his dialogue, characterisation and non-existent plot let him and his film down. There's just not enough to keep the audience interested for the long, slow, laboured length of the movie – even for those who might be turned onto the film for its themes. Watch the official trailer here . Buy UKFR Banner Space About the Film Critic William Hemingway Indie Feature Film, LGBTQ+ < All Reviews Next Film Review >

Psiblingz - Till We're Found film review by UK film critic William Curzon. Starring Jackson Hay-Inkol directed by PoppaBoogie. HOME | FILMS | REVIEWS Psiblingz - Till We're Found Film Review average rating is 4 out of 5 Critic: William Curzon | Posted on: Sep 29, 2025 Directed by: PoppaBoogie Written by: lo_ryde, ROCH Starring: Jackson Hay-Inkol Psiblingz - Till We’re Found is a music video that explores the impact of the opioid crisis and its effect on an individual, entirely presented through visual storytelling accompanied by music from lo_ryde featuring ROCH. A blend of soul, hip-hop, and R&B stylistically aligns with the tone of the video, thanks to the raw performances from the musicians tackling a sombre subject matter. The video also works well with the song due to its plethora of idiosyncratic formal choices within an uncompromising vision and risky creative decisions. The direction is immediately engaging, as it brings the viewer into the point of view of the protagonist in agony, utilising surrealism and visual storytelling to emphasise the subject matter. While it may be too difficult for viewers to digest such a grim tone, musicians and storytellers should convey essential topics like this to educate audiences through a visual medium. Themes of substance abuse and self-loathing are present through the central character’s actions to express their inner turmoil and the drastic impact this can have on an individual. The mix of archival footage intertwined within the narrative is a practical formal choice to express empathy towards the many lives that were lost, sadly, due to the opioid epidemic. While the style of the music may not appeal to everyone, the hybrid of genres is incredibly impactful and leaves a lasting impression on the viewer. Although the narrative lacks focus, the visuals effectively complement the grim and moody tone of the music, pervading the themes of addiction and isolation. The use of indistinct imagery can be a detriment to the overall visual style and is a baffling creative choice, however, given how unique most of the piece looks and feels. On the other hand, the use of close-ups, particularly of the eyes, is astoundingly impactful and makes the experience visceral in portions. Even with a complete lack of dialogue, the actor portraying the protagonist, Jackson Hay-Inkol, does a fantastic job of conveying the character’s emotions through facial expressions and the physicality of the role. It's a breath of fresh air to have a music video be topical while widely engaging through its visuals and music, a rarity in the current landscape. The presentation at times can also become distorted within the imagery, creating a disorienting feeling akin to what the character is experiencing on screen. The tone and content present in the piece can be challenging to witness. Still, there's also a light at the end of the tunnel for support and shining a light on these themes to ensure others are not alone with issues of addiction, which is such an important and beautiful message to leave the viewer with. Although the conclusion to the piece is haunting, allowing the viewer more leeway to explore its myriad of themes with further depth could have made the overall impact of its closing moments more thematically potent. Psiblingz - Till We’re Found is an experimental experience that offers a profound sense of empathy for the lives affected by the opioid crisis. While some formal choices may throw the viewer off their engagement in the narrative, the music accompanied by the visceral depiction of self-destruction will likely stick with you and help others to overcome their struggles with addiction. Buy UKFR Banner Space About the Film Critic William Curzon Music Video < All Reviews Next Film Review >

Lovely, Dark, and Deep film review by UK film critic Hope Madden. Starring Georgina Campbell directed by Teresa Sutherland. HOME | FILMS | REVIEWS Lovely, Dark, and Deep Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Feb 21, 2024 Directed by: Teresa Sutherland Written by: Teresa Sutherland Starring: Georgina Campbell What is the draw of the deep woods? Ticks? High likelihood of injury with haphazard chances of rescue? Cocaine bears? Even the obvious reasons to steer clear of the woods can’t deter a lot of people. Writer/director Teresa Sutherland’s Lovely, Dark, and Deep links two risks that have haunted writers and creators throughout existence. Some people go crazy in the woods, and many get lost in there and never come out. “And into the forest I must go, to lose my mind and find my soul.” John Muir said that. The “father of the National Parks” may not have predicted Sutherland’s translation. Sutherland drops new ranger Lennon (Georgina Campbell, Barbarian ) in the National Park back country, where she will spend the season mainly alone in her ranger hut. Does she know that Ranger Varney (Soren Hellerup) disappeared last season? Likely it wouldn’t dissuade Lennon, who has a past to reconcile and some podcasts on missing people to listen to. Campbell’s performance shifts as Lennon’s determination makes way for absolute confusion and terror. What begins as single-minded pursuit shows itself to be desperation in disguise. Willfulness gives way to horror as Lennon’s investigation turns up wooded weirdness and wickedness she did not predict. Wide shots and drone work keep Lennon dwarfed by an increasingly claustrophobic forest, though Campbell never lets the character feel overmatched by nature. Not nature. But a disorienting woods as deep as these (it’s actually Portugal) can easily conceal a lot that is far from natural. Sutherland’s film is a bit of a slow burn, but once it hits its stride, she throws an unsettling assortment of hellish visions at you. You don’t have to have a natural (and really healthy, I think) fear of the woods to know it’s time to get the F out of Jellystone. Buy UKFR Banner Space About the Film Critic Hope Madden Digital / DVD Release < All Reviews Next Film Review >

28 Years Later: The Bone Temple film review by UK film critic Hope Madden. Starring Jack O'Connell, Ralph Fiennes, Alfie Williams directed by Nia DaCosta. HOME | FILMS | REVIEWS 28 Years Later: The Bone Temple Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Jan 13, 2026 Directed by: Nia DaCosta Written by: Alex Garland Starring: Jack O'Connell, Ralph Fiennes, Alfie Williams Maybe you enjoyed last year’s coming-of-age survival story masquerading as horror, 28 Years Later . Respect. But if you believe the film lacked the genuine terror required for this franchise, director Nia DaCosta has you covered. She delivers the first great horror film of the year with 28 Years Later: The Bone Temple , also written by Alex Garland. It picks up the most intriguing threads left untied last time: those of the band of Clockwork Orange -esque marauders who saved young Spike (Alfie Williams) from the infected, and the beautiful soul covered in iodine and living amongst the bones, Dr. Ian Kelson (Ralph Fiennes). There is more visceral horror in the first three scenes of DaCosta’s film than in the entire hour and fifty-five minutes of the previous installment. Spike finds himself unwittingly and unwillingly one of the Jimmys, the seven blond-wigged disciples of Sir Jimmy Crystal (O’Connell). Meanwhile, die-hard Duran Duran fan (hell yeah!) Dr. Kelson might be making friends with Samson (Chi Lewis-Parry), the pantsless alfa-infected who left such an impression in the last film. As the two stories lead toward inevitable collision, Garland, who wrote the 2000 genre masterpiece 28 Days Later before writing and directing some of the best genre films of the 2000s (Ex Machina , Annihilation , Men , Civil War ), delivers smart storytelling, impeccable world building, and scares aplenty. And again, Garland is able to display an intense social conscience, with timely and relevant nods to humanity fighting cruelty for survival, and the desperate allure of demagogues. O’Connell’s never given a bad performance, and thanks to Sinners , the world knows what he can do with a villain role. But the man’s been doing the charismatic sadist better than any actor since his 2008 breakout, Eden Lake . His performance here is diabolical and unsettlingly funny. Fiennes is again in wonderous form, soulful, earnest and dear. DaCosta surrounds them both with a strong ensemble that more than sells this story. The filmmaker (Little Woods , Candyman , The Marvels , Hedda ) returns to horror with aplomb, expertly weaving from the grimmest horrors the Jimmys can muster to the tender bromance blossoming over at the bone temple. And the climactic musical number she stages there is a thing for the ages. Back in the summer of 2002, Danny Boyle released the single scariest movie to hit screens in a decade or more. The next two sequels are solid films. But credit DaCosta and her game and gamey cast for upping the ante to deliver everything a horror fan hoped to get last time out. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Strangers Invitation film review by UK film critic Jason Knight. Starring Joseph B. Augustin, Kathy Morales, Amber Robinson, Jayda King directed by Teddy Joseph. HOME | FILMS | REVIEWS Strangers Invitation Film Review average rating is 2 out of 5 Critic: Jason Knight | Posted on: Sep 3, 2025 Directed by: Teddy Joseph Written by: Teddy Joseph Starring: Joseph B. Augustin, Kathy Morales, Amber Robinson, Jayda King A vampire horror feature written and directed by Teddy Joseph (who also produced, edited, and did the sound for the film - funding the project to boot) and starring Joseph B. Augustin, Kathy Morales, Jayda King and Amber Robinson. African American vampires are wreaking havoc in Miami. The story begins during the French Revolution, and Damien (Augustin) is a slave whose master is a vampire. His master decides to turn Damien into a Vampire, and centuries later, he ends up in present-day Miami. There, he decides the time is right to have some company and, one after the other, he turns three young women, Vanessa (Morales), Amber (Robinson) and Sasha (King) into vampires and the four of them prey on the people of Miami, leaving dead bodies everywhere. Meanwhile, the police are getting hot on their tail. The plot is intriguing: vampires stalk the streets of Miami at night, killing whoever they come across. As one might expect in a film about vampires, there is plenty of biting going on, a lot of gore, and the supernatural creatures have fangs and red eyes. Many people get killed. Although this is a blood-soaked horror story, it has major flaws. One thing is the acting, which is not very convincing, to say the least. Another negative aspect is that the low production value is evident, with unrealistic gore and poor special effects and there is awkward editing. Moreover, the duration is close to two hours, and the screenplay does not justify this length of time, focusing primarily on violence and unnecessary scenes, instead of moving the story forward. The performances are unrealistic, yet Augustin manages to bring some life into his character, portraying as a person (if vampires can be described as persons) who embraces the sinister and deadly being that he has become. Although Sasha seems content to have become a creature of the night, Amber and Vanessa have different perspectives, questioning the joys of such an existence. Joshua Germain and Frank Ronoti play two capable detectives who are trying to solve the mystery of the multiple slayings. Since this is a vampire story, immortality is one of its themes and the screenplay also explores the life of a vampire, presenting it as being an existence motivated by a thirst for blood. Additionally, the film also investigates loyalty and freedom. Strangers Invitation tries to take itself seriously and fails. Could this feature be acknowledged as a decent addition to the vampire genre? Even this genre's biggest fans will most likely find it hard to enjoy a film that is overlong, has poor acting and flawed special effects. Buy UKFR Banner Space About the Film Critic Jason Knight Indie Feature Film < All Reviews Next Film Review >

VIVA film review by UK film critic James Learoyd. Starring Lalor Roddy, Kate O'Toole, Sara Dylan, Bosco Hogan, Richard Clements directed by Marie Clare Cushinan. HOME | FILMS | REVIEWS VIVA Film Review average rating is 4 out of 5 Critic: James Learoyd | Posted on: Jun 15, 2025 Directed by: Marie Clare Cushinan Written by: Marie Clare Cushinan Starring: Lalor Roddy, Kate O'Toole, Sara Dylan, Bosco Hogan, Richard Clements As quiet and reflective in its form as it is audacious in its ideas, VIVA tells the story of an old couple who spend one more night with their closest family . That is before they voluntarily end their own lives under the strange, inevitably troublesome (in political terms) service provided to them by the government in this fictional world. Writer, director and editor Marie Clare Cushinan knows how to tell an emotionally complex story. You could say that the magic trick of this screenplay is that – despite the socially provocative/reflective nature of the abstract concept – the real priority of the script is building these realistic personas. We’re endeared, entertained, and deeply fascinated by the personable conversation taking place that the more experimental idea at the centre almost goes unnoticed, to its credit. The viewer can very easily accept this plot when the people feel so genuine, which brings us to our actors... We are very seldom blessed with a short film as impeccably performed as VIVA . Every single actor is putting in incredible work, lending the scenario’s ‘dystopic’ setup an emotionally grounded quality. As critics, one often has to look past acting in low-budget filmmaking. Since acting is a challenging practice, you don’t expect most short films to feature particularly versed performers; and yet, we are in awe of the ensemble in this piece. It is, quite frankly, mind-blowing to see such a soundly cast picture wherein everyone remains appropriately restrained in terms of emotional craft and physicality. Audiences will no doubt be moved by a multitude of tender moments, the potency of which can, in part, be attributed to the immensely talented – and shrewdly employed – cast-members. It’s a rare and special thing to behold. Allow us to touch on the technical. VIVA is certainly a professional looking movie, the most impressive and precisely accomplished aspect of which is the lighting. There’s a slick use of light balance in the spaces on show, achieving the marvel of having these pretty setups feel naturalistic or motivated. The sound track mostly matches this level of virtuosity, but there’s the occasional inadvertent crackle which almost feels more jarring considering how clean the recording proves to be – much of this can’t be avoided and remains strong work. One thing that stood out to this critic, however, was the film’s editorial construction. This is a brilliantly cut film, especially in dialogue sequences and the apt use of psychologically motivated flashbacks. But there is one sequence, at the beginning of the short film, which one could argue requires a steadier approach. I can’t help but feel that the opening, consisting of the couple looking wistfully out to sea, should have been covered in just one or two extended shots that allow us to settle in the environment and characters. The relatively quick cutting simply doesn’t suit the moment. Despite this opening, the editing is very much industry-standard; practically going unnoticed during the bulk of the picture. VIVA is an incredibly affecting portrait of preemptive mourning which paints a detailed, nuanced picture of individuals who know that they’re approaching their final moments. It’s a sharply directed, flawlessly performed drama which manages to subtly explore some deep social ideas. Buy UKFR Banner Space About the Film Critic James Learoyd Short Film < All Reviews Next Film Review >

The Wild Robot film review by UK film critic Hope Madden. Starring Lupita Nyong'o, Kit Connor, Pedro Pascal directed by Chris Sanders. HOME | FILMS | REVIEWS The Wild Robot Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Sep 26, 2024 Directed by: Chris Sanders Written by: Chris Sanders, Peter Brown Starring: Lupita Nyong'o, Kit Connor, Pedro Pascal With wry, almost gallows humor, visual panache and an impressive voice cast, co-writer/director Chris (How to Train Your Dragon, Lilo & Stitch) Sanders’s The Wild Robot nails the aching beauty of parenthood like few other films have. Adapted from Peter Brown’s gorgeously illustrated middle grades novel, the film drops us and ROZZUM unit 7134 on an island uninhabited by humans. This makes it tough for “Roz” (Lupita Nyong’o) to fulfill her mission of completing a task, any task. But then an undersized gosling (Kit Connor) imprints on her, allowing Sanders to have some fun with the unending complications associated with Roz’s new task: parenting. The writing and the delicately lovely animation work together to hypnotic effect, each unveiling something more human with every scene, regardless of the fact that there’s nary a human in the movie. Sanders’s script reflects the human experience, both the timeless (the thankless heartbreak of investing your whole heart and soul into the process of successfully losing your child to their own future) and the immediate (AI, corporate greed, tech overlords). A talented cast deepens the film’s effect. Nyong’o effortlessly treads the line between logic and longing with so graceful a character arc that you can feel Roz blossoming. Pedro Pascal joins her as Fink, the fox who hates to admit that he wants to be part of this little family unit more than anything. Catherine O’Hara—always a treasure—delivers dry wisdom in hilarious doses. Meanwhile, Ving Rhames, Mark Hamill, Matt Berry and Bill Nighy bring endearing personalities to their furry and feathered characters, while Stephanie Hsu injects Act 3 with a little wicked humor. The film’s delight is only deepened by its sadness, and you may find yourself bawling repeatedly during this film. I know I did. Sanders’s career is marked with the vulnerable optimism that defines an outsider’s longing for connection. In his worlds, a parent and their sort-of child—Lilo and Stitch, Hiccup and Toothless, Roz and Brightbill—flail and flounder until they find the strength of an extended family. It’s a story he’s apparently not done telling. But he tells it so very well. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release, Animation < All Reviews Next Film Review >

The Wheel of Heaven film review by UK film critic Hope Madden. Starring Kali Russell directed by Joe Badon. HOME | FILMS | REVIEWS The Wheel of Heaven Film Review average rating is 4 out of 5 Critic: Hope Madden | Posted on: Oct 25, 2023 Directed by: Joe Badon Written by: Joe Badon, Jason Kruppa Starring: Kali Russell The Wheel of Heaven delivers oddball charm and horror in equal measure. What’s it about? That’s an excellent question, and not a simple one to answer. We seem to be stuck on late night, all access TV, which is running through a wild set of programs and sponsors. (My favorite sponsor is Rad Abrams, Skateboard Attorney.) And my favorite show is undoubtedly The Uncle Bobbo Show, which was also the focus of director Joe Badon’s 2021 short, The Blood of the Dinosaurs. Kids’ TV host Uncle Bobbo (an eerily unblinking Vincent Stalba) wants to teach us where oil comes from. With assistance from his vampire puppet co-host Grampa Universe (voiced by John Davis) and his young helper Purity (Stella Creel), he seeks to enlighten and entertain. And misinform. It’s sort of a Pee-wee’s Playhouse for sociopaths. If that does not seem like a ringing endorsement, you’re not reading it correctly. So, we’re watching highly local TV programming. Or are we? Maybe each story is a little diorama dreamt up by local artist Margaret Corn (Kali Russell)? Or perhaps we may instead be reading along with Marge the Mechanic (Russell again), who picked up a “choose your adventure” book at a thrift store. Russell plays at least half a dozen distinct but related characters, each a fully formed and often bizarre individual. Her range and effortless skill with characterization ground the segments in something tangible, however goofy the character. Whether these characters are part of a book, TV programming or one artist’s imagination is irrelevant. Badon’s upended the concept of a framing story for what is essentially an anthology of short films. Every tale, including the framing stories, morph and mutate and as each folds in on itself, Badon and his crew appear to emphasize the illusion versus reality of this absurdist storytelling. What else does Badon hit on? Birth. Death. Choice. 3D glasses. Kitch. Homage. Dinosaurs. Storytelling. But mainly creation and how the act of creating is linked to all of these. The Wheel of Heaven throws a lot at you and not all of it hits, but Badon’s instinct for the bizarre, humorous and horrific generate a wonderfully oddball effort. Buy UKFR Banner Space About the Film Critic Hope Madden Indie Feature Film, Film Festival < All Reviews Next Film Review >

Dog film review by UK film critic Hope Madden. Starring Channing Tatum directed by Reid Carolin, Channing Tatum. HOME | FILMS | REVIEWS Dog Film Review average rating is 2 out of 5 Critic: Hope Madden | Posted on: Feb 17, 2022 Directed by: Reid Carolin, Channing Tatum Written by: Reid Carolin, Brett Rodriguez Starring: Channing Tatum Dog —the new Channing Tatum film about a former Army Ranger driving cross country with another former Army Ranger, this one an angry Belgian Malinois named Lulu—is not what you expect. I wish that was a good thing. Because what you expect is likely not that good to start with: hunky but irresponsible man learning love and responsibility from an anxious but lovable hound. And you do get that. The emotional trajectory of Dog is no more in question than whether the two bedraggled messes will make it on time to their final destination, the funeral of a fallen comrade. But if you are expecting to laugh, even once, you are in for a surprise. The film, co-directed by Tatum (his first effort behind the camera), makes a number of weak attempts at comedy. If you’ve seen the trailer, you’ve seen all of them. Not a single one lands, and each supposed joke is so lazy, so telegraphed and tired. Dog is a road trip film, which is often an excuse to string together random comedy sketches. Sometimes this works (Vacation, The Mitchells vs. the Machines ). Usually, it doesn’t. Certainly, Dog doesn’t take advantage of the opportunities for hilarity inherent in the cross-country trip. But don’t dismiss Dog as simply a decidedly unfunny comedy. Tatum and co-director Reid Carolin, who co-wrote the script with Brett Rodriguez, use the gags as a sweetener on top of a very dark story about PTSD and living with the emotional and physical damage of war. What lies just beneath the weakly attempted comedy is an incredibly dark film. Not a dark comedy—not by any stretch. Tatum and gang are not going for laughs at the expense of these two scarred veterans and their collective trauma. Lulu is every embattled, broken veteran and we don’t want anything bad to happen to Lulu. Why, then, are we so careless with our broken and embattled veterans who are not also beautiful Belgian Malinois? It’s a worthy message trapped in a sincere, tonally chaotic, humorless, lazily constructed mess of a movie. Dog has merit I did not expect going into it. I wish it was a better movie. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >

Wet Seal Cigarettes film review by UK film critic Joe Beck. Starring Nicholas G. Sims, Chloé Lexia Worthington directed by Percival Bernard, Earl Weaver Jr.. HOME | FILMS | REVIEWS Wet Seal Cigarettes Film Review average rating is 5 out of 5 Critic: Joe Beck | Posted on: Nov 26, 2022 Directed by: Percival Bernard, Earl Weaver Jr. Written by: Percival Bernard Starring: Nicholas G. Sims, Chloé Lexia Worthington In an era of languorous cinema, too often dominated by no-risk big-budget reboots, sequels and spinoffs, all of which prioritise profit over heart and creativity, original, well-made storytelling is hard to come by. Out of such eras, however, a new age of creativity tends to be born, in which original storytelling thrives and cinemas do not have to rely on the next superhero film just to break even. ‘Wet Seal Cigarettes’ offers a glimpse of that soon-to-come (hopefully) new age, but does so by harking back to one of cinema’s greatest reinventions - The French New Wave. Shot in a 4:3 aspect ratio, and predominately in black and white, it is impossible not to think back to the likes of Jean-Luc Godard, François Truffaut and Claude Chabrol when watching ‘Wet Seal Cigarettes’, which never drops the ball that it so magnificently picks up in its opening frame. We open with a man, Nicholas Bordeaux (Nicholas G. Sims) sat on death row, whilst director Percival Bernard tells us that ‘nothing has ever belonged to [Nicholas], not even his life’. It isn’t until we cut back to Nicholas at the film’s conclusion that we understand Bernard’s assertion that Nicholas is ‘suffering under a society of vanity and cigarette smoke’. From then we venture into a set of seemingly unrelated stories, and the film channels those great French filmmakers, whilst also being reminiscent of Luis Buñuel’s early abstract piece ‘L’Age d’Or'. ‘Wet Seal Cigarettes’ has a message, but it channels it so artfully that it never feels overbearing, and ultimately, much of the film can be left open to interpretation - leaving a much better final product. Split into chapters, the film weaves between English and French, colour and monochrome, animation and live action, heightening the sense of peculiarity. What made the French New Wave so culturally significant (and SO GOOD) was how it transgressed the stale cinematic and cultural landscape of the 1950s and early 1960s. The films were made in the director’s vision rather than that of a studio, and sought not to reinvent cinema - though they undoubtedly did that - but rather to quench the thirst for cinema to become an art form again. Defined by jump-cuts and creative editing, they had pointed political messages embedded into their loosely-hanging stories, and, in a very bourgeois way, wanted society to evolve and see matters in the same way as the director. ‘Wet Seal Cigarettes’ shares these traits, most notably in its embracement of film as an art, but also through it’s pertinent overarching questions on corporate greed and capitalism. Other messages are touched upon, often humorously, and every scene featuring the two policemen is filled with impeccably executed visual gags. Writer-director Percival Bernard, with Earl Weaver Jr. acting as assistant director, is inspired both on the screenplay and behind the camera, filling the film with energy and lavish creativity. The film is meta, with running gags regarding the subtitles over the dialogue spoken in French, largely by Chloé Lexia Worthington, credited as Darling, as she sparks a philosophical conversation with Nicholas over coffee. Both Nicholas G. Sims and Chloé Lexia Worthington work competently with the script they are given, and the supporting cast is all solid, but this is a film which shines the spotlight most brightly on its director rather than its actors. Bernard captures more than the aesthetic of the French New Wave, he captures its spirit, and that is more than enough to suggest a bright future in the film industry. Some may call films like ‘Wet Seal Cigarettes’ pretentious or artsy, but that is inevitable whenever a story broaches anything resembling profound philosophy, and should instead be seen as much-deserved praise. ‘Wet Seal Cigarettes’ is one of the purest most unabashedly creative pieces of filmmaking you’ll likely see this year, and a must-see for anyone wanting to escape from the dross encapsulating much of cinema at this current time. Buy UKFR Banner Space About the Film Critic Joe Beck Short Film < All Reviews Next Film Review >

Beyond The Lake film review by UK film critic Jason Knight. Starring Richard Easterbrook, Layla Burns, Cleo Sylvestre directed by Simon Constantine. HOME | FILMS | REVIEWS Beyond The Lake Film Review average rating is 4 out of 5 Critic: Jason Knight | Posted on: Mar 22, 2023 Directed by: Simon Constantine Written by: Simon Constantine Starring: Richard Easterbrook, Layla Burns, Cleo Sylvestre A girl and an elderly man embark on a journey, travelling on a boat through a lake. A young girl (Burns) and an old man (Easterbrook) are on a rowing boat, moving through a large lake, surrounded by mountains and trees. The girl is rowing, while the passenger sits. As they travel, they have conversations regarding where they are heading, a person's name, being old, being young and having a friend. As their journey approaches its end, things get extraordinarily intense, making it clear that this is a fateful endeavour. Beyond the Lake as a short film is quite mysterious, beginning with two people on a small boat, without explanation as to how they got there and what is going on. Jacob, the elderly man, does not know where they are going and he and the girl do not know each other. However, the girl appears to understand the situation, as she knows their destination and what is going to take place. What she requires, is the name of a person Jacob used to know, which seems to be crucial. Quick flashbacks reveal information about Jacob, which includes a woman in a kitchen and a spinning unusual coin. The plot is a mystery, which is not a negative thing, as it makes viewing more intriguing and the things that occur towards the end make this look like a dark fairy tale. Easterbrook portrays a character who appears to be saddened by a recent loss, although generally, he comes across as a simple person. Burns plays the most intriguing character, which is a young girl who is calm, polite and appears to be wise beyond her years. She seems to be a special individual and one who is responsible for serious duties and unlike Jacob, she wears unusual clothing. Constantine directs remarkably and creates some terrific aerial shots. These, along with some impressive special effects, look fantastic thanks to Asmund Berge Jenssen's cinematography. Fabrizio Gammardella deserves commendations for the superb editing. There are montages that contain fast cutting, creating rather intense moments. The mesmerising music is one of the strongest aspects of the film, thanks to the contribution by John Koutselinis. The sound effects also stand out, which include whispers overlapping, lightning, echoes and an otherworldly, powerful voice. Two people are in the isolated countryside, travelling towards the unknown. It is a mysterious journey about old age, youth, friendship and loss and the addition of strong acting, beautiful scenery and a terrific score make this an admirable achievement. Buy UKFR Banner Space About the Film Critic Jason Knight Short Film < All Reviews Next Film Review >

Mrs. Harris Goes to Paris film review by UK film critic Hope Madden. Starring Lesley Manville, Jason Isaacs, Isabelle Huppert directed by Anthony Fabian. HOME | FILMS | REVIEWS Mrs. Harris Goes to Paris Film Review average rating is 3 out of 5 Critic: Hope Madden | Posted on: Jul 12, 2022 Directed by: Anthony Fabian Written by: Anthony Fabian, Carroll Cartwright, Keith Thompson Starring: Lesley Manville, Jason Isaacs, Isabelle Huppert Brimming with wholesome, plucky charm reminiscent of an altogether lost style of filmmaking, Mrs. Harris Goes to Paris dares you to dream. A working-class woman enchanted with a Dior gown decides to scrimp, gamble and save until she can afford one of her own. That’s an adventure in itself, but once the funds are secured, Mrs. Harris is off to the City of Light to make her dream come true. Lesley Manville is wonderful in the title role. She manages somehow not to turn Ada Harris into a “by crikey guvna” cartoon character. Like the hero of Paul Gallico’s several “Mrs. ‘Arris” novels, the widowed cleaning lady does drop a quaint colloquialism now and again. But Manville’s performance glows from within, her lovely blue eyes convincing us of Mrs. Harris’s cleverness, optimism and indefatigable spirit. Director Anthony Fabian surrounds Manville with remarkable talent, from Jason Isaacs to Lambert Wilson to the great Isabelle Huppert. Each has a lesson to teach Mrs. Harris, and each very definitely has something to learn. But the film never leans toward comeuppance as a means of satisfaction. Instead, Fabian’s tale, co-written with Carroll Cartwright and Keith Thompson, takes pleasure in warmth and extols the virtues of empathy. The writing team delivers a nuanced version of Gallico’s tale, one that’s hardly about capitalistic pleasures. Mrs. Harris’s arc aligns more with the garbage men on strike than with the bourgeoisie who can afford (but may not deign to pay for) designer frocks. Still. The charm wanes long before the two-hour mark. Even Manville, whose performance is a sheer joy, can’t overcome some of the more tiresome and hokey material. There are too many characters with too many entanglements, each of which is too tidily and thoroughly buttoned up. Had Fabian been able to trim about 20 minutes from Mrs. Harris’s adventure, the result might have been pure pleasure. Instead, it’s a sometimes tedious but just as often delightful way to window shop. Buy UKFR Banner Space About the Film Critic Hope Madden Theatrical Release < All Reviews Next Film Review >